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This series contains documents pertaining to original works and one arrangement by Kay, in addition to a short song composed by his daughter. The main focus of the series is Kay's sketches, holographs, and published scores; however, other pertinent documents, such as libretti, correspondence, and notes have also been included in the series. The coverage of the records is quite comprehensive, but some works listed in Kay's diaries and in Hobson's and Richardson's bibliography remain unrepresented in the collection, and it lacks a few fully-realized scores. The compositions missing materials include: Christmas Carol (1943); Concerto for Orchestra (1948); Suite from "The Quiet One" (1948); Partita in A (1950); Phoebus, Arise (1958-1959); Two Pieces for Orchestra (1964); Four Hymn-Anthems (1965); Aulos (1967); Jubilee (1974-1976); a cadenza to one of Mozart's piano concerti (1979); and Everett Suite (1988).

Series I is composed of manuscripts and associated materials on a broad range of topics related to the Soviet Union and the Soviet sphere of influence. Manuscripts within Subseries I.1: Economics address topics including natural resources, agriculture, forestry, industrial and urban development, and Soviet economic policy and administration. Subseries I.2: Social and political sciences is the largest group of materials in the collection. It contains manuscripts on the history of the Russian Empire, the USSR, and regional ethnic minority groups, from the seventeenth century through World War II and the immediate post-war period. It also contains manuscripts on Soviet foreign and domestic policy, including the structure and functions of the Communist Party, military, and secret police. Finally, it includes materials on Soviet society, including education, religion and the suppression thereof, and other distinctive aspects of Soviet culture. Conversely, Subseries I.3: Science is the smallest group of materials in the collection. It includes nineteen manuscripts on the process of conducting research in various scientific fields in the Soviet Union. Subseries I.4: The arts addresses Soviet literature, linguistics, and press freedom; theatre; music; film; and architecture. There are both original literary manuscripts and scholarly manuscripts addressing other works of literature in this subseries.

Series IV is composed of Dunham's publications, workshops, and inventions, all of which are organized topically then chronologically. In the 1980s and 1990s, he attended a number of workshops on bamboo construction and solar energy in Myanmar and Thailand. Subseries 3 is concerned with his inventions related to solar energy and nocturnal radiation. Some of this work was conducted during his tenure at the School of Tropical Architecture (AA) and as a Fulbright Scholar. His research on solar cookers was carried out in partnership with John Duffie (the first director of the University of Wisconsin-Madison's Solar Energy Lab) and was funded by the Rockefeller Foundation. Daniel Farrington was a frequent collaborator and correspondent. Included are a patent, research articles, "hand-made" bound volumes of research, United Nations reports on alternative energy, sketches, photographs, and correspondence. Some of this work was conducted during Dunham's consultancies, such as the solar distillers in Mauritania. On a humorous note are sketches for a hot dog cooker that Dunham made with his family on beach trips. Also present are regularly updated curricula vitae, which provide a thorough account of his various roles; as well as lists of his publications, consultancies, and built-works compiled by Mary Frances Dunham.

Series I contains material relating to Gabriele's career as a freelance singer from the 1940s through the 1970s. The series covers a range of opera, recital, and concert performances both in the United States and in Europe (with Gabriele's Italian performances particularly well represented). The bulk of this series consists of programs, publicity material, and press clippings relating to these performances, but also includes correspondence, administrative documents, photographs, sheet music, and some recordings. Scores in this series (many of which are annotated) document her collaborations with a number of contemporary American and Italian composers, including Douglas Moore, Jack Beeson, David Amram, and Vincent Persichetti. Notable performances featured in this series include Gabriele's early recital work in West Virginia in the 1940s, her 1958 recital at the New York Town Hall, her performances at Central City Opera and other regional opera houses, and her 1959 performance of La bohème at the Teatro di San Carlo. Notably, this series features a number of rare, unreleased recordings of Gabriele's opera and concert performances (including world premieres) and also recordings of Gabriele's singing lessons with Laszlo Halasz. Note that although Gabriele sang in recitals and operas with the Masterworks Laboratory Theater, these materials are held under Series II, alongside documents relating to her directorial work. And although Gabriele performed frequently at Chez Vito, this facet of her vocal career is housed under Series III.